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11	Kyrkomusikernas plats i organisationsförändringar Göthberg, Robin January 2015 (has links) Purpose: The purpose of this paper is to analyze how ongoing organizational changes within the Swedisch Church affects its musical activities in parishes. Method: The study is based on interviews and publicated sources. Conclusion: Church musicians as a group are a powerful and vital resource for the Swedish Church. Organizational Change Group Thinking Group Behaviour Resource Dependence Communication in Organizationa lChange Interaction Cantor Organist Church music Swedish Church Organisationsförändring Grupptänkande Gruppbeteende Resurser Samspel Samarbete Kantor Organist Kyrkomusik Svenska kyrkan
12	Orgelbrus och öronsus : En studie om kyrkomusikers exponering för piporgel Rongelid, David January 2016 (has links) Uppsatsen behandlar ämnet kyrkomusiker och deras exponering för ljud inom sin tjänst, främst med fokus på piporgel. Undersökningen har genomförts med kyrkomusiker och kyrkoherdar i Enköpings kontrakt för att få en uppfattning av kyrkomusikernas exponering till piporgelljud och om de kan ha fått en hörselskada utav detta. Huvudsakligen har studien baserats på individuella intervjuer med kyrkomusikerna och enkätsvar från kyrkoherdarna. I sex utvalda kyrkor har även ljudmätningar gjorts med en decibelmätare. Resultaten visar att hörselskaderisken är relativt låg vid piporgelspel, medan ljudexponering från körer anses vara ett större problem. Denna studie var begränsad geografiskt till ett kontrakt inom svenska kyrkan i Sverige och kan inte berätta om det är annorlunda någon annanstans. tinnitus hörselskada hörselskador piporgel orgel ljudmätning ljud undersökning exponering kyrka kantor organist kyrkomusiker musiker buller Media and Communication Technology Medieteknik
13	Žmogaus santykis su sakraline muzika ir raiškos savastis: pagal Vilniaus katalikiškų parapijų vargonininkų bei IX–XII klasių mokinių patirtį / Man‘s relationship with sacral music ant the identity of its expression according to the experience of Vilnius parishes and senior schoolchildren (forms 9 – 12) Zašauskaitė, Rita 27 June 2011 (has links) Muzika skambanti bažnyčioje, jos atlikėjai bei atlikimas yra saistomi Bažnyčios dokumentuose nustatytomis normomis, įstatymais, rekomendacijomis, kurie privalomi ir turi būti vykdomi kiekvienoje parapijoje. Magistrinio darbo temą inspiravo daugelyje Bažnyčios dokumentų išsakomas nuogąstavimas dėl nukrypimų nuo sakralinės muzikos tikslo ir padėties: per didelis koncertiškumas, pramoginis muzikos atspalvis, kompozicijų ištęstinumas, nesaikingumas, kuris gali vesti žmogų į bergždžią išsiblaškymą, paviršutiniškumo išraišką. Bažnyčioje neturėtų būti nieko, kas trikdytų ar mažintų tikinčiųjų pamaldumą, kas keltų papiktinimą nepasitenkinimą, kas nusižengtų liturgijos sakralumui. Muzika yra pavaldi pamaldoms. Todėl žmogaus santykis su sakraline muzika ir raiškos savastis yra labai tampriai susiję ir vienas kitam daro įtaką. Muzika turi pajėgti žmogaus sielą pakelti į maldingą bendravimą su Viešpačiu. O už žmogaus ir sakralios muzikos sklaidą atsako bažnyčia, kompozitoriai, vargonininkai, choro vadovai, giedotojai, bendruomenė, instrumentalistai. Todėl savo darbe analizavau šias tarnystes, aiškindamasi kaip jos galėtų pasitarnauti žmogaus pamaldumo augimui ir sakralios muzikos skleidimui. Magistriniame darbe buvo siekiama: apibūdinti žmogaus santykį su sakraline muzika pagal Katalikų Bažnyčios dokumentus; apibūdinti giesmininkų reikšmę liturgijoje ir jų dažniausiai daromas klaidas; suformuoti muzikanto tarnystės reikalavimus; apibrėžti instrumentų naudojimą liturgijoje; patikrinti... [toliau žr. visą tekstą] / Church music, its character and its performers have to conform to the norms provided by the documents of the Church. The laws and recommendations found in these documents are obligatory for every parish. This master paper has been inspired by the regret of the Church documents about some deviations from the aim and the true role of sacral music, such as concert–like style, the shade of pop music, prolonged composition, lack of taste, etc. This can lead people to absent-mindedness and superficiality in prayer. Nothing in the church should decrease people’s concentration or the holiness of the liturgy. Music must be second to liturgy, it must lift people’s souls to pious communication with God. Therefore, man’s relationship with sacral music and its expression influence one another. The quality of this relationship and of the music in church is the responsibility of the parish, of composers, organists, choir directors, singers, instrument players and of the community as a whole. Thus, this paper deals with all of these ministries and their role in helping church music to increase people’s piety. The paper aims at showing people’s relationship with sacral music according to the documents of the Catholic Church, as well as the role of the singers in the liturgy and the most frequent mistakes they make. The paper also tries to formulate the requirements for musical service and the use of instruments in the liturgy. We have investigated into the opinions of church organists in... [to full text] Theology Sakralinė muzika Bendruomeninis giedojimas Vargonininko tarnystė Choro tarnystė Bažnyčios dokumentai apie muziką Sacral music Communal singing Organist ministry Choir ministry Church documents about music
14	2. Dresdner Orgelspaziergang: Freitag, 30. Oktober 2015 19 April 2021 (has links) Das Programmheft anlässlich des 2. Orgelspaziergangs am 30. Oktober 2015 (der im Rahmen der Festtage zum 10. Kirchweihfest der Frauenkirche Dresden stattfand) gibt einen Überblick über die geplanten Konzerte an diesem Tag auf den Orgeln der 3 Dresdner Kirchen Frauenkirche, Kreuzkirche und Kathedrale. info:eu-repo/classification/ddc/780 ddc:780 Dresden; Kreuzkantor; Organist
15	Att pynta tiden : En studie om prästers och kyrkomusikers urval av musik i samband med kyrkliga förrättningar Vahlgren, Olle January 2024 (has links) This essay explores the way in which priests and church-musicians choose music for different ceremonies such as funerals, sunday service, baptism and weddings. The questions at issue regard how the clerks personal preferences, the Swedish Church’s cultural heritage and the attending community contributes to the musical choice at large. Other complementing questions explore how different rooms affect what is seen as suitable music, and also how the clerks value live music compared to pre-recorded music in the halls of ceremony. The exploration and answering of these questions were done through interviewing both priests and church-musicians. In the analysis of the produced material mainly Bourdieu's concepts of taste, fields, illusio, habitus, cultural-, and educational capital were applied. To further grasp the intricate inner workings of the church-musicians and the priests reasoning when selecting music, such as emphasizing openness, inclusion and musical width, the study also give valuable insights in the significance of how the fields of the clerks interact with the field of the assembly, the cultural heritage of the national church and societal norms as a whole, most notably in regards to the selective struggle between tradition and renewal. The findings in this essay contributes to the academic field with new knowledge of how music is used in religious contexts to mediate theological messages and aesthetics. As such, this essay is more focused on the horizontal, rather than the vertical, aspects of how music is interacted with, thus shaping peoples expectations and perceptions of different rooms and of the church services. These aspects play a pivotal part in keeping the identity of the given community alive, and is therefore an important phenomenon to understand in regards to the Swedish Church. Bourdieu Eliade taste habitus cultural capital educational capital field illusio hierophany music church priest organist musician room selection choice Humanities and the Arts Humaniora och konst
16	"Very Beautiful and Very American": A Multicultural Analysis of Florence B. Price's Quintet in A Minor for Piano and Strings Carvajal Harding, Taryn Jane 26 April 2023 (has links) (PDF) This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound. Florence Beatrice Price Florence Beatrice Smith Florence Price Multicultural Quintet Piano Quintet A Minor Juba Chicago Renaissance New England Conservatory of Music Woman Composer Female Composer of Color Black Composer African American Composer American Composer Margaret Bonds Marian Anderson Little Rock Slow Me Down Lord First Sonata for Organ Guilmant Organist Organ Composer Women Organ Composer Symphony No. 1 E Minor Symphony No. 3 C Minor Fine Arts
17	Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697) Fructus, Michel 03 December 2009 (has links) Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing. Baroque Basse continue Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Chiffrages Continuo Figures musicales Fixe Héritage Husum Identité Kapellmeiter Luther Luthéranisme Motif générateur Muable Musique allemande Musique luthérienne Musique sacrée Œuvres vocales Organiste Orgue Protestantisme Réduction mélodique Réduction harmonique Ritornello Schleswig-Holstein Sinfonia Baroque Basso continuo Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Figuring Continuo Musical figure Fixed Heritage Husum Identity Kapellmeiter Luther Lutheranism Pattern generator Changing German music Lutheran music Sacred music Vocal works Organist Organ Protestantism Melodic reduction Harmonic reduction Ritornello Schleswig-Holstein Sinfonia

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